(RE)THINKING FASHION GLOBALIZATION
Seminar co-organized by
The Transboundary Fashion Seminar &the Research Collective for Decolonizing Fashion
Bunka Gakuen University Tokyo
15-16 February 2019

PROGRAMME
Friday 15 February 20199h00 – 9h30

Registration (c building 4th floor)

9h30 – 10h00

Welcome and introductions (room C041)

10h00 – 11h00

Panel I: Global/Local
Moderator: Angela Jansen
Location: room C041
Yoko Takagi & Saskia Thoelen
Kimono Migrating Across Boarders: A Preliminary Study into the
Discovery of Wasō Culture Outside of Japan
Kyoko Koma
Discourses of Several Actors on Globalising Non-Western Kawaii
Fashion in the 21st Century

11h00 – 11h30

Coffee11h30 – 12h30

Panel II: Global/Local (continued)
Moderator: Toby Slade
Location: room C041
Angela Jansen‘Tribalization or the End of Globalization’: Rethinking Cultural
Homogenization Through Fashion Globalization
Harriette Richards
Melancholia at the Margins: Place and History in the Fashion of
Aotearoa New Zealand

12h30 – 13h30

Lunch

13h30 – 14h30

Visit Kimono Exhibition at the University Museum

14h30 – 15h30

Panel III: Mapping Fashion
Moderator: Kyoko Koma
Location: Room F48
Sarah Cheang and Elizabeth Kramer
East Asian Global Connections and Fashion Histories
Jenny Hughes(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 20192

Body Mapping: Cross Cultural Influences in the Studio
15h30 – 16h00

Coffee16h00 – 17h00

Panel IV: Mapping Fashion (continued)
Moderator: Sarah Cheang
Location: Room F48
Daan van Dartel
Surinamese Kotomisi: Multiple Identities of Fashion
Abby Lillethun and Linda Welters
Coats and Trousers: Redrawing the Map to Rescript the Narrative

Saturday 16 February 20199h30 – 10h30

Panel V: Fashion Systems
Moderator: Angela Jansen
Location: room C041
Chepkemboi J Mang’ira#OWNYOURCULTURE – Decolonizing Fashion Through Traditional
Jewelry
Osuanyi Quaicoo Essel & Malika Kraamer
Dress Fashion Posters in Consumer Fashion Choices and Preferences in
Ghana

10h30 – 11h00

Coffee11h00 – 12h00

Panel VI: Fashion Systems (continued)
Moderator: Sheila Cliffe
Location: room C041
Yuniya Kawamura
Ethnic Dress Styles as New Sustainable Luxury
Katalin Medvedev
Once Again, Politics Wraps Budapest Fashion Scene in a Shroud

12h00 – 13h00

Lunch

13h00 – 14h00

Panel VII: Migration
Moderator: Sarah Cheang(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 20193

Location: room C041
Deirdre Clemente“Our Clothes Told Everyone Where We Were From”: NineteenthCentury Immigration, Ethnicity, and the Changing Language of Dress
Courtney Fu
Negotiating Identities: Fashions of Nyonyas (Straits Chinese Women) in
Early 20th Century Singapore
14h00 – 14h30

Coffee14h30 – 15h30

Panel VIII: Global Design PracticeModerator: Yoko Takagi
Location: room C041
Jose Teunissen (by Skype)
State of Fashion: Searching for the New Luxury. Imagination,
Sustainability, Embodied Practice, Craft Revival, New Narratives
Hazel Clark and Alla Eizenberg
Making the Ordinary Fashionable: New Sartorial Languages from
Russia and China

15h30 – 16h00

Coffee16h00 – 18h00

Final roundup discussion and book discussion
Moderator: Toby Slade
Location: room C041

18h00

Dinner(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 20194

ABSTRACTS
Friday 15 February 2019
Panel I: Global/Local
Kimono Migrating Across Boarders: A Preliminary Study into the Discovery of Wasō
Culture Outside of Japan
Yoko Takagi & Saskia Thoelen
About half a century after the large-scale introduction of Western dress in Japan leading to a
drastic decrease in wasō (i.e. the wearing of kimono) limited to special events andceremonies, Japan has seen an increase in the wearing of kimono as casual dress in its majorurban centres, as an alternative to globally dominant dress. One of the concrete examples ofthis phenomenon is the establishment and development of kimono wearing groups, such as“Kimono de Jack.” The Kimono Jack movement, (high-jacking a space with kimono wearers)
has been spreading all over Japan, and has influenced kimono wearers overseas to establish
their own groups, starting with Kimono de Jack UK (since 2011), and leading to thedevelopment of other Kimono de Jack groups in many other countries around the world,most notably in Europe and in North America.
The establishment and development of these groups goes hand in hand with the spread ofkimono overseas, and the interpretation and adaptation of wasō across borders. Therefore,
our research concentrates on the way in which kimono is crossing geographical boundaries
and how it is being used and is creating new meanings for its users in locations outside ofJapan. Through preliminary surveys and in-depth interviews with “key-players” from thewasō scene overseas, data was collected from four distinct locations, two in Europe (Paris,
Amsterdam), and two in the US (New York, Philadelphia), making use of an interdisciplinary
approach with a focus on material culture. The theories of cultural transfer (Espagne andWerner, 1985) and intersectionalities (Kaiser, 2012) provided a lens to focus on wearer’s
interpretation and adaptation of the kimono across borders from multiple viewpoints.
Finally, the frameworks of japonisme, and agency (Giddens, 1982) guided us to analyse how
new meanings and interpretations are actively created amongst kimono wearers overseas.
Discourses of Several Actors on Globalising Non-Western Kawaii Fashion in the 21stCentury
Kyoko Koma
French fashion has been considered “the normative fashion”, which proposes fashionablestyles that dominate the fashion positions that everyone should follow, including nonWestern others. But French fashion cannot be considered equal to “the French Fashion”
because the latter has been established on appropriating “the others” from abroad, as
shown by the exposition Mode d’ici, Mode d’ailleurs, held in 2014 at the National Museumof Immigration History in Paris. The exhibit featured comprehensive French fashion
proposed by several others: by people fleeing to Paris during the Russian Revolution, as seen(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 20195

in Irfé, during the Spanish Civil War, as seen in the work of Balenciaga and so on. Foreign
designers sought to differentiate themselves during the second half of the 20th century.
Today, contemporary fashion is informed by globalization. On the one side, Paris fashion
could be considered as having historically appropriated other cultures sometimes exotic
ones, including primitive orientalism in the 19th century and futurist orientalism in the 20th
century, as seen in skyscrapers in Tokyo or New York (Todorov 1989), or the egalitarian
exoticism of the 21st-century Japanese pop culture boom (Rafoni 2004, Sabre 2014). On theanother side, could we consider French fashion as a fashion composed of various features ofseveral non-Western others, and can its non-Western fashion be diffused globally byborrowing the frame as “the French Fashion” as a tactic against strategy, based on Michel
De Certeau’s definitions?
My paper will focus on the direct or indirect tactic of transnationalising (rather thanglobalising) the Japanese kawaii or immature style, which is a non-Western fashion which
has been considered decentred from a Eurocentric, modern society. After criticallyexamining the previous studies on kawaii’s definition, through discourse analysis, I will toclarify the process by which this non-Western style could be constructed and diffused byseveral actors as a feature of transnationalisation in France, in that dictionary Le Robertadopted kawaii as a French loanword: firstly, directly by wearers themselves in SNS orInternet, to construct a niche fashion outside of mass media; by the Japanese government,in the hopes of exploiting the popularity of the kawaii fashion, especially among French
youth; and indirectly by some French fashion brands, which have constructed and diffusedor, as mentioned above, “appropriated” or “localised” and (re)globalised the kawaii style, asreported in mass media. I will examine how the kawaii style, as a non-Western fashion, could
be globalised/transnationalised in the 21st century by way of the Internet and mass media
through discourse analysis of SNS and French mass media, such as of national newspapers
and fashion magazines (digital versions) published in the 2010s.
Panel II: Global/Local (continued)‘Tribalization or the End of Globalization’: Rethinking Cultural Homogenization ThroughFashion Globalization
Angela Jansen
Inspired by the article ‘Tribalization. Or the End of Globalization,’ this paper focuses on therenaissance in recent years of fashion based on cultural heritage in response to (fashion)
globalization. After decades of increasing globalization, the world is actually facing a decline
in globalization, with a worldwide rise of authoritarian nationalism and fundamentalism.
People are believed to be plunging in an identity crisis and their collective response has been
tribalization: the return to a strong foundational cultural identity.
However, the cultural heritages on which these foundational cultural identities are based,
were largely shaped and defined by former (Western) colonizers. Colonized cultures werecharacterised as traditional, as opposed to the modern colonizers, to justify oppressive
colonial politics. Cultural heritages were reduced to static snapshots in time and as such,robbed of their long, often global and dynamic histories. After independence, new nations
used these reductionist colonial writings to identify ‘traditional, ancestral and authentic’cultural heritages to shape national identities.

(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 20196

Fashion globalization, which generally refers to the global spread of Western fashion andwith it, Eurocentric hegemonic fashion discourse, often falsely suggests equality andinclusivity by including ‘other’ fashion systems, but through their relations and interactions
with Western fashion rather than in their own right, sustaining marginalisation andinequality. It usually implies the rise of ‘new’ fashion capitals following the introduction ofWestern fashion, denying and erasing long, often global and dynamic fashion histories
outside the geographical boundaries of Europe and North America.
This paper argues that the erasure of fashion histories outside the West has been feeding
into fundamentalist cultural and consequently national (fashion) identities. While cultural
homogenization in the context of globalization is mainly argued as a worldwide spread ofWestern culture, this paper discusses cultural homogenization within postcolonial nations in
response to (fashion) globalization.
Melancholia at the Margins: Place and History in the Fashion of Aotearoa New ZealandHarriette Richards
Aotearoa New Zealand is situated in many ways at the margins. Isolated within the South
Pacific Ocean and at the periphery of the global economy, this place is a uniquely positioned
postcolonial location. This small island nation is also deeply implicated within the global
fashion system and comprises a long history of unique sartorial adornment and independent
design. Much recent research has explored the history of fashion in Aotearoa New Zealand(De Pont ed. 2012; Hammonds et al. 2010; Labrum et al. 2007; Molloy and Larner 2013).
However, little has been written regarding the relationship of this fashion to the place andits history. Thus, in this paper I am concerned with the ways in which the history of Aotearoa
New Zealand, and notions of the place itself, inform the production of particular fashion
aesthetics. I am also interested in how the aesthetics of place are represented in different
forms of cultural production and how they contribute to the construction of particularnarratives of history and cultural identity.
Melancholia is also situated at the margins in many ways. A concept of significant historicalconsequence and an aesthetic quality that speaks specifically of the liminal space between
distinct differentiations (Benjamin 2009; Ferber 2013). Melancholia has much in common
with fashion and with Aotearoa New Zealand. Employing this concept as a heuristic device, I
explore how an aesthetic of melancholia is fashioned in Aotearoa New Zealand and how thisaesthetic reflects and represents the place, its history, and its cultural identity. By engaging
with the concept of melancholia in relation to sartorial aesthetics and identity, this paper
presents an original approach to the study of culture and history in Aotearoa New Zealand,and offers a unique method through which we might think about the construction ofcolonial and globalized narratives of fashion and identity elsewhere.

(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 20197

Panel III: Mapping Fashion
East Asian Global Connections and Fashion Histories
Sarah Cheang and Elizabeth Kramer
The Fashion in Translation (FiT) project (Royal College of Art; University of Northumbria;
University of Brighton) aims to reformulate the national, transnational and global using East
Asian perspectives and object-led studies of fashion history. The project places emphasis on
following fashion’s movements within East Asia, and between East Asia and other parts of
the world, and explores the impossibility of grasping and defining globalization (a questionthat is often raised in transnational studies). Rooting the research in East Asia also provokes
a series of rejoinders to on-going Eurocentric tendencies in global fashion studies andproposes new models for understanding fashion and postcolonialism.
This paper will use two new examples of transnational fashion research from the FiT project
to catalyze an active discussion of East Asian fashion histories as globally connected. A studyof early 20th century Chinese embroidered shawls that attends to the transformations
involved in transmission between China, the Philippines, Latin America, Spain and England,enables a new history of Asian-American-European interactions to be written that does notprivilege Europe and North America, nor create a simplistic narrative of ‘exotic’ components
in European fashion. Likewise, following the souvenir jacket from its origin embroidered by
the Japanese for U.S. occupying forces to its reinterpretation during the Vietnam War, to its
use to mark out rebellious subcultures and international appearance in popular films, andsubsequent commercialisation as a mainstream fashion garment, demonstrates a fluid andsustained transmittal dialogue. By bridging the gap between cultural studies and thematerial evidence of museum collections, and centering the study of cultural flows offashion on East Asia, we seek more satisfying ways to challenge binary constructions ofEast/West, traditional/modern, which are an insufficient model for understanding thecomplexities of global flow but that continue to haunt fashion studies.
Body Mapping: Cross Cultural Influences in the Studio
Jenny Hughes
A presentation of the work of students at UCA Rochester documenting their experience of
fashion and experimental textiles within the studio via multidisciplinary, issue based work
exploring cross-cultural narratives.
As a practising textile artist and University Lecturer specialising in fashion design, I strive to
instil a sense of ‘critical adventure’ in fashion and textile students. Encouraging them toquestion their own understanding, break down perceptions, to re-invent and deconstruct
stereotypes and move away from well-worn euro-centric perspectives. My illustrated talkwill focus on the students’ creative experience through a series of documented workshops
and projects designed to enhance their knowledge of and at the same time question themeta-narrative of ‘Global Fashion’. In short, we see how a group of students begin to
identify and contest more and less visible boundaries that permeate fashion systems aroundthe world.

(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 20198

Contextual exploration includes the ground-breaking work of contemporary African andAsian designers such as Phyllis Galembo, Manish Arora, Rei Kawakubo, Junya Watanabe andYohji Yamamoto. With an emphasis on more dynamic ways of exploring fashion design:enveloping the body through draping, wrapping, exploring asymmetry and multiples as wellas considering ‘clothing‘ in a more abstract sense. Students study the Japanese aesthetic
concepts of ‘Ma’ exploring the space/gap between the body and clothes, and of ‘Wabi Sabi’the acceptance of transience and the innate beauty of imperfection as a conceptual
springboard for design and construction.
As students’ address ecological concerns, migration, social and gender issues, etc., theirdesign experiments move beyond eurocentric/ethnocentric discourses within fashion to
explore dynamic cultural hybrids and weave an alternative future. Outcomes become morepolitically, socially and ethically engaged through questioning and re-framing issues andperspectives deemed ‘global’.
Panel IV: Mapping Fashion (continued)
Surinamese Kotomisi: Multiple Identities of Fashion
Daan van Dartel
When considering entangled histories, according to western logics and theorisation, which
are firmly embedded in dichotomous thinking, disentangled histories should also be
possible. Of course, they are not, there is no such thing as a disentangled culture, which isperhaps best expressed in the way people dress. Speaking of global fashion histories, theoriginally colonial collections of the NMVW in the Netherlands, the National Museum ofWorld Cultures, abounds with these types of garments that inherently embody the
dynamism in the production of culture. Since in the so-called West, where globalisation isoften seen as starting with European imperialism, excluding the rest of the world as people
without history (Wolf, 1992), the fashioning of the period of transatlantic slavery is a very
interesting example of the perceived hegemony of western fashion theory. In my talk, I
would like to look at a Surinamese fashion style called kotomisi, for which it always has been
assumed that its origin lies within European notions of dress and modesty. I want to showthat the development of kotomisi entailed processes of selection, force, adaptation,
resistance, and creolisation of different cultures, among which Europe, Africa and Japan.
Kotomisi, now often considered and vehemently expressed as an emblem of cultural identity
and regional dress, was fashion and is indeed still fashionable today and very much part of a
local entangled fashion system gone global.
NB – this research is currently ongoing, so it may be that my talk is still inconclusive, but it
will address the larger questions raised by the CFP.
Coats and Trousers: Redrawing the Map to Rescript the Narrative
Abby Lillethun and Linda Welters
This paper seeks to redraw the map and rescript the narrative of coats and trousers, twogarments that have become globally ubiquitous. Coats cover the upper body, have sleeves,(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 20199

and open in the front. Trousers are bifurcated garments that cover the lower torso, crotch
area, and legs.
Histories of Western fashion generally assign the coat’s emergence in the West to transferfrom Persia (Payne, et al. 1992; Tortora and Marcketti 2015); however, few explore thecoat’s development in Asia. Western fashion histories treat trousers with even less attention
to their Asian origins. As the story goes, the Romans adopted trousers (“feminalia”) from the“barbarians” in Gaul (Payne, et al. 1992; Tortora and Marcketti 2015). The eventual
normative wearing of coats and trousers in the West by men, and later by women, appears
in fashion surveys and discussions of modern fashion as a fait accompli rather thanemergent from long cultural exchange.
Recent archaeological discoveries of extant coats and trousers in China add evidence toaugment visual representations in art. Surviving coats were found in China’s Xinjiang Uyghur
Autonomous Region; one of wool is dated to the fifth to second century BCE and several
survive from the fourth to sixth centuries CE (Mair 2010). In the same region of China,archaeologists found the oldest extant trousers, two pair, dating to between the thirteenthand tenth centuries BCE (Beck et al 2014). Although gaps remain in tracing the adoption ofcoats and trousers, it may be argued that coats and trousers were not original to Europe, butthat they travelled there via prehistoric and ancient trade networks.
The important roles of coats and trousers in diverse fashion systems across the past, andtheir continuity in contemporary fashion systems, demands that their narratives be
rescripted to foreground their development in Asia and to explore their transcultural
adoption.
Saturday 16 February 2019
Panel V: Fashion Systems#OWNYOURCULTURE – Decolonizing Fashion Through Traditional Jewelry
Chepkemboi J Mang’ira
My name is Chepkemboi Mang’ira, founder of OwnYourCulture, an online platform thatencourages young Kenyans to embrace their heritage through creative styling of traditional
accessories. We aim to promote, preserve and educate the youth on traditional jewelry andits relevance in today’s fashion. Our work began as a social media hashtag showcasing
different ways traditional accessories can be fashionable. We left it open for the youth topredict and bring forth stories of their culture or stories passed down in their communities
alongside the styled photos. This movement is relevant in Kenya because we havecompletely abandoned our traditional clothing styles, with little or no records of pre-colonialfashion.
In Kenya the accepted attire is purely westernized from clothes to hair, as opposed to theleather, feathered garments and layers of ornaments of pre-colonial times. Western fashionis religiously consumed with style trends heavily influenced by Western media. In our workOwnYourCulture, we focus on restructuring the fashion trends narrative to have a more
inclusive aspect of fashion, whereby our traditional/pre-colonial design forms still play a rolein modern day fashion. We do this by styling traditional accessories for different occasions,(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 201910

from work to weddings. In Kenya and the larger Eastern Africa, majority of the tribes wore
leather hides with beaded patterns, or flamboyant feather outfits. With the advent ofcolonization for one to attend school or work and earn money, they had to denounce theirreligion and dress. This was aided by brainwashing tactics that would then affect generations
to come, leading to the dissipation of traditional clothing. To date, the term ‘traditional’ still
has a negative connotation in fashion. Western accessories are more preferable than thelarge beaded ornaments. At OwnYourCulture we consistently research and share the design
styles of the pre-colonial period. We have even gone a step further to create events whereindividuals must dress in a way that represents their heritage.
With the onset of the internet and instant sharing of information, there has been a need toreclaim the narrative by Kenyans. We also want to be seen for our creativity and design
across the globe. On social media there are no boundaries anymore, information and trends
are available across the world and designers want to showcase and be acknowledged too.
History is being rewritten now through our work and similar initiatives. For example ourwork has inspired more Kenyans to search for their fashion identities based on our heritage.
Designers have now started to use their heritage and some of the pre-colonial work we havepublished to recreate unique pieces.
When fashion is inclusive, there’s a general pride and freshness of ideas. For example, in
East Africa alone there exist hundreds of tribes, each with their own traditional style anddesign aesthetic. This can be a huge source of creative inspiration for artists and designers
alike. This in turn creates economic opportunities across the board.
Dress Fashion Posters in Consumer Fashion Choices and Preferences in Ghana
Osuanyi Quaicoo Essel & Malika Kraamer
Ghana is a fashion conscious country with thousands of creative bespoke designers,
seamstresses and tailors. These tailors, seamstresses and designers create stunning outfits
of high aesthetic quality ranging from haute couture, middle class and street fashion. Due tothe bespoke nature of most of Ghana’s fashion systems, hundreds of new designs trickle
onto her fashion markets on daily bases giving consumers many options to choose from.
Many of these creative bespoke dress-fashion designs are cataloged and published in
fashion posters that are widely distributed and found in almost every tailoring shop acrossthe length and breadth of the country. These posters are predominantly printed in Lagos andAccra and largely distributed through the major markets and itinerant sellers.
The fashion posters have become major handy tools for bespoke fashion advertisementsthat shape and inform the fashion choices of consumers. In this article we explore theeditorial preferences of dress-fashion producers and what inform their selection of fashion
designs that feature in fashion posters. It also examines the factors that determine theconsumer choices of designs featured in the posters and its relationship with the editorial
preferences of seamstresses, tailors and designers. Descriptive survey constitutes theresearch design while simple descriptive statistics and thematic analysis would be used forthe data analysis.
This co-presented and researched paper, part of a wider project on fashion systems in
Ghana, adds our understanding of a fashion system beyond the often-perceived dominant
global city networks. It explores one aspect of a system that does not currently have its mainreferences in European fashion trends, but is nonetheless international – these posters have(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 201911

a wide spread throughout West Africa and also influence the special occasion wear of the
Ghanaian and Nigerian diasporas. The focus on Ghana helps to rethink fashion globalization
discourses by shifting the center to a decolonialised fashion system.
Panel VI: Fashion Systems (continued)
Ethnic Dress Styles as New Sustainable Luxury
Yuniya Kawamura
Western dress has always claimed its superiority over ethnic dress because it was a symbolof advanced economic development and sophisticated civilization. There are cultural
hierarchies among different types of dress, and the image of ethnic dress is not modern andfar from fashion, and thus we, as scholars, need to “decolonize” fashion from the Westerninterpretations (Jansen and Craik 2016). In addition, recent discussions onsustainable/ethical fashion include primarily Western dress/fashion (Gordon and Hill 2015). I
offer a different insight on ethnic dress as sustainable luxury fashion. For example, Japanesekimonos, Indian saris, and African dashikis are woven or cut in straight lines to constructgeometrical silhouettes leaving hardly any (or no) fabric remnants, and the sizes are often
adjusted by making tucks and pleats. They rarely use buttons or zippers. Simplicity is one of
the reasons for its devaluation since Western dress has more complex constructions andtherefore, would demand advanced dressmaking skills. However, ethnic dress often requires
deep knowledge of the sartorial code as well as aesthetic regulations. It may also offer adistinct aesthetic and luxury taste that is unique to its culture and provides Westerners
different perspectives on fashion. As controversial debates on cultural appropriation
continue in the fashion industry, we must find ways to integrate Western and ethnic dress inculturally acceptable ways to establish a new meaning of sustainable luxury fashion so that
we can truly analyze fashion and dress from global perspectives and be more inclusive of all
types of dress while erasing or minimizing cultural hierarchies.
Once Again, Politics Wraps Budapest Fashion Scene in a Shroud
Katalin Medvedev
An imaginary Western fashion map today would have a blank spot over Budapest, thecapital of Hungary. In fact, the entire former Eastern Bloc would appear on such a map as a
fashion wasteland. What is noteworthy, however, is that in the early 20th century Budapest
was an important commercial, retail, and fashion hub. In fact, according to dress historian
Katalin Dózsa, at the turn of the 20th century the proper order of premier European fashion
centers was Paris, London, Vienna, Berlin, and Budapest.
This paper argues that the fashion scene in Hungary (together with other Eastern-Central
European countries) was made invisible following World War II because the country became
a victim of (geo)politics. Although the communist takeover in1947 is widely accepted as thereason for the demise of Budapest as a fashion center, I would posit that since the fall ofcommunism, two other significant reasons have emerged for the unlikelihood of the city

(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 201912

returning to its former glory: the insidious effects of Cold War rhetoric that continue to thisday, resurfacing as a new Cold War; and current Hungarian politics.
Communists treated fashion as a means of reification of ideological principles, presenting
them in visually accessible forms on the bodies of female communists. Both sides of the
1950s political-economic divide used fashion to battle out their differences. Think of thefamous Kitchen Debate that took place at the opening of the 1959 U.S. National Exhibition in
Moscow. In a sparring with Premier Khrushchev, President Nixon claimed that because of
the ease of housework, which was the result of a developed capitalist economy, U.S. women
were able to spend plenty of time on their appearance unlike communist women, who were
presented in Western propaganda as drably-dressed workhorses. Popular media wasinstrumental in searing this image in the Western mind. A case in point is the famous 1980s
Wendy’s commercial demonstrating the lack of choice and fashion by a corpulent, middleaged Soviet “fashion model” sauntering down a “runway” in the same frumpy grey dress forall occasions. In the new Cold War, the West continues to imagine Eastern-Central European
women as having no fashion identity of their own or, at best, as routine followers ofWestern fashion.
The second reason is Hungary’s current nationalist brand of capitalism, which has politicized
every aspect of people’s lives, including the realm of fashion. Under the rulingadministration, major capital investment, an absolute must in the fashion industry, isavailable only for designers handpicked by the government for their political allegiance. In
return, the designers are expected to create “genuine Hungarian fashion,” which means
utilizing Hungarian folk motifs in their products. Such inflexible images, views, andundertakings appear to bring down the hammer for the foreseeable future on the potentialof a renewed Eastern-Central European fashion scene in general and on Budapest in
particular.
Panel VII: Migration“Our Clothes Told Everyone Where We Were From”: Nineteenth-Century Immigration,
Ethnicity, and the Changing Language of Dress
Deirdre Clemente
As fashion studies moves towards a more nuanced understanding of global fashion systems,
old constructs of class and gender still dominate many of our new narratives. This paper
reinterprets one of the most studied yet widely miscast players of the past two centuries:
the immigrant. Still considered by laypeople and scholars alike to be destitute, rag-tag
greenhorns with little knowledge of their host culture, turn-of-the-century immigrants areseen here to be far more clothing savvy than previous histories have allowed. By revisiting
how and where immigrants cobbled together a new language of dress, we can better
comprehend the many and varied meanings of clothing at a pivotal time in the developmentof global capitalism—the late nineteenth and early twentieth century.
Presented here are two case studies: the contadini from southern Italians who arrived en
masse to New York City and Chinese immigrants who flocked to California in the second halfof the nineteenth century. Using archival materials such as oral histories, government
documents, personal letters, and historic newspapers that have been collected from 11(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 201913

archives over 15 years, this research-rich paper studies the role of dress in immigrant
identity formation. Yet the lessons gleaned transcend time and place. Rather, this paper
aims to explain how immigrants from different continents and circumstances used dress tonavigate the gaps between “traditional” and “modern” notions of race, class, and gender. As
Andrea Sartorini, an immigrant from Sicily in 1908, explained, “Our clothes told everyone
where we were from, but we quickly learned the differences between our old world and our
new world. We changed our clothes to be both.”With sources that capture the voices and “lived experience” of the immigrants themselves,
this paper asks—and answers—important questions about the role of dress in the process ofglobal migration.
Negotiating Identities: Fashions of Nyonyas (Straits Chinese Women) in Early 20th Century
Singapore
Courtney FuThis paper addresses the issue of fashion globalization through a study of how migrantsocieties dealt with competing models of modernities. It focuses on the Chinese female
immigrants in early 20th century Singapore, and uses the domestication of cheongsam ascase study. I argue that an appropriated style evolved through careful deliberations by the
fashion leaders of the immigrant society over Anglicized, Americanized, and Sinicizedmodernities, and that this localized style overtime transcended the social and culturalbarriers and transformed the sojourners of an adopted land to citizens of a new foundnation.
This paper also demonstrates that outside the established fashion capitals of the era,colonial Singapore, by virtue of its cultural diversity and receptivity to foreign influences, wasnonetheless a vibrant fashion system in its own right. Two types of public women emerged
as fashion leaders: the socialites and the dance-hostesses of the cabarets at the newly
established amusement parks. As immigrants in the colonial hub of British Malaya, theChinese were subjected to fashion trends from European colonizers, Hollywood movies, andthe eastern metropolis of Shanghai. While choosing between these competing influences,
factoring local idiosyncrasies and personal calculations about class and status was also partof their daily sartorial practices. Against the background of rapid urbanization andcommercialization, a nascent fashion industry emerged. The stylized cheongsam dressing set
in motion by the trendsetters was eventually consumed by more immigrants of different
origins and backgrounds, thanks to the local manufacturers and retailers.
As such, when cheongsam was banned in Japan-occupied Taiwan, waned in China during thecivil war and disappeared altogether with the militarization of clothing under the Communist
regime, the dress became a trendy form of daily wear by the expanding working class ofChinese women in Singapore gearing toward independence.

(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 201914

Panel VIII: Global Design PracticeState of Fashion: Searching for the New Luxury. Imagination, Sustainability, Embodied
Practice, Craft Revival, New Narratives
Jose Teunissen (by Skype)The digitalization in 21st Century has generated a new generation of fashion designers who
no longer need to move to established fashion centres to start a global career and to gain
global recognition. Through web shops, blogs, social media and local Fashion Weeks they areable to establish a global business from any place as well as being part of the current critical
Fashion discourse to re-think the system. (Teunissen 2005; 8-23, Teunissen 2018: 12-72).
In this paper I want to argue that this new generation of fashion designers is operating froma new and engaged vision. Being aware of social and environmental issues and the failures of
the current fashion system, they are fundamentally rethinking and redefining the fashion
system by implementing new values and new imaginations using an embodied practice as anactivistic tool. Since many of these newcomers have a non-western background, they are notobviously using the conventional values and notions of the dominant Western Fashionhistory and its intertwining with movements conceptualism, modernism or post-modernism.
At the same time, they do not so much express the tradition from which they come (Brand,
Teunissen 2005, 2011:157-177), Fukai 2006:288-314);Skov 2011:137-157) as the path theytake between that tradition and the various contexts they traverse, and they do this byperforming acts of transition. (Bourriaud, 2009 51-51). More important, imagination is nolonger being employed as a materialised fantasy, as a form of escapism or as a reflection ofanother world - as evoked in the conventional fashion glamour. But the new generation isable to create attractive fresh new imaginations shaping new and more responsible andsocial connected worlds without any references (to the conventional Western Fashionhistory), where the imagination has become, in terms of Appadurai (1996: 3-5) an organizedfield of social practices, a form of work (in the sense of both labor and culturally organizedpractice.
Making the Ordinary Fashionable: New Sartorial Languages from Russia and China
Hazel Clark and Alla Eizenberg
Across the twentieth century the politics, histories and sartorial cultures of both Russia andChina resonated with one another, and the dress of both countries likewise served as‘inspiration’ for Western fashion designers. This referencing drew on different periods andon the ‘otherness’ of extraordinary garments from imperial Russia (e.g. Yves St Laurent’s‘Russian’ collection 1976/77) and China (Christian Lacroix, Frontière Chinoise F/W 1992/3).
Ordinary outfits also caught the attention of some designers (Donna Karan, ‘Chinese
Worker,’ S/S 1995). How, we ask in this paper, if at all, have the vestimentary histories of
Russia and China, and their appropriation by Western fashion, had an impact on the sartorial
languages of emerging generations of fashion designers originating from these twocountries?
We draw particular attention to contemporary fashion interest in the everyday, andreference Michel de Certeau’s notion of ‘tactics’ and ‘strategies’ to analyze the appeal of(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 201915

the everyday as a source by designers from nations outside of recent fashion history. We
consider how much cultural discontinuities and political and economic changes (including
the fall of the Soviet Union in 1991, and the ‘opening up’ of China) and nostalgia for thoseearlier times have stimulated an interest by emerging Russian and Chinese fashion designers
in ordinary clothes worn in the Soviet Union, and in China in the twentieth century.
Focusing in particular on the Russian Gosha Rubchinskiy and Chinese Ma Ke as rare cases ofdesigners who have achieved considerable prominence in the Western fashion discourse, we
analyze their different creative interests in the everyday and the wider reception of theirwork. We propose that their approaches can serve as new forms of inventiveness,corresponding to de Certeau’s ‘tactics,’ and ask whether they have the potential toundermine the perpetuation of ‘strategies’ of extraordinariness and otherness in Western
fashion.

(Re)Thinking Fashion Globalization, Bunka Gakuen University Tokyo, 15-16 February 201916